1.
Barcelona
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Founded as a Roman city, in the Middle Ages Barcelona became the capital of the County of Barcelona. Barcelona has a cultural heritage and is today an important cultural centre. Particularly renowned are the works of Antoni Gaudí and Lluís Domènech i Montaner. The headquarters of the Union for the Mediterranean is located in Barcelona, the city is known for hosting the 1992 Summer Olympics as well as world-class conferences and expositions and also many international sport tournaments. It is a cultural and economic centre in southwestern Europe, 24th in the world. In 2008 it was the fourth most economically powerful city by GDP in the European Union, in 2012 Barcelona had a GDP of $170 billion, it is leading Spain in both employment rate and GDP per capita change. In 2009 the city was ranked Europes third and one of the worlds most successful as a city brand, since 2011 Barcelona has been a leading smart city in Europe. During the Middle Ages, the city was known as Barchinona, Barçalona, Barchelonaa. Internationally, Barcelonas name is abbreviated to Barça. However, this refers only to FC Barcelona, the football club. The common abbreviated form used by locals is Barna, another common abbreviation is BCN, which is also the IATA airport code of the Barcelona-El Prat Airport. The city is referred to as the Ciutat Comtal in Catalan. The origin of the earliest settlement at the site of present-day Barcelona is unclear, the ruins of an early settlement have been excavated in the El Raval neighbourhood, including different tombs and dwellings dating to earlier than 5000 BC. The founding of Barcelona is the subject of two different legends, the first attributes the founding of the city to the mythological Hercules. In about 15 BC, the Romans redrew the town as a castrum centred on the Mons Taber, under the Romans, it was a colony with the surname of Faventia, or, in full, Colonia Faventia Julia Augusta Pia Barcino or Colonia Julia Augusta Faventia Paterna Barcino. It enjoyed immunity from imperial burdens, the city minted its own coins, some from the era of Galba survive. Some remaining fragments of the Roman walls have incorporated into the cathedral. The cathedral, also known as the Basilica La Seu, is said to have founded in 343
2.
Modern art
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Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with ideas about the nature of materials. A tendency away from the narrative, which was characteristic for the traditional arts, more recent artistic production is often called contemporary art or postmodern art. Matisses two versions of The Dance signified a key point in his career and in the development of modern painting, analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé, the notion of modern art is closely related to modernism. Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th century, the beginnings of modern painting can be located earlier. The date perhaps most commonly identified as marking the birth of art is 1863. Earlier dates have also proposed, among them 1855 and 1784. In the words of art historian H, harvard Arnason, Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning. A gradual metamorphosis took place in the course of a hundred years, the strands of thought that eventually led to modern art can be traced back to the Enlightenment, and even to the 17th century. The important modern art critic Clement Greenberg, for instance, called Immanuel Kant the first real Modernist but also drew a distinction, The Enlightenment criticized from the outside. The French Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and this gave rise to what art historian Ernst Gombrich called a self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper. The pioneers of art were Romantics, Realists and Impressionists. By the late 19th century, additional movements which were to be influential in art had begun to emerge. The advocates of realism stood against the idealism of the academic art that enjoyed public. The most successful painters of the day worked either through commissions or through public exhibitions of their own work. There were official, government-sponsored painters unions, while governments regularly held exhibitions of new fine
3.
Catalonia
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Catalonia is an autonomous community of Spain, located on the northeastern extremity of the Iberian Peninsula. It is designated as a nationality by its Statute of Autonomy, Catalonia consists of four provinces, Barcelona, Girona, Lleida, and Tarragona. The capital and largest city is Barcelona, the second-most populated municipality in Spain, Catalonia comprises most of the territory of the former Principality of Catalonia. It is bordered by France and Andorra to the north, the Mediterranean Sea to the east, the official languages are Catalan, Spanish, and the Aranese dialect of Occitan. The eastern counties of these marches were united under the rule of the Frankish vassal the Count of Barcelona, in the later Middle Ages Catalan literature flourished. Between 1469 and 1516, the King of Aragon and the Queen of Castile married and ruled their kingdoms together, retaining all their distinct institutions, Courts, and constitutions. During the Franco-Spanish War, Catalonia revolted against a large and burdensome presence of the Royal army in its territory, within a brief period France took full control of Catalonia, at a high economic cost for Catalonia, until it was largely reconquered by the Spanish army. In the nineteenth century, Catalonia was severely affected by the Napoleonic, in the second half of the century Catalonia experienced industrialisation. As wealth from the industrial expansion grew, Catalonia saw a cultural renaissance coupled with incipient nationalism while several workers movements appeared. In 1914, the four Catalan provinces formed a Commonwealth, and with the return of democracy during the Second Spanish Republic, after the Spanish Civil War, the Francoist dictatorship enacted repressive measures, abolishing Catalan institutions and banning the official use of the Catalan language again. Since the Spanish transition to democracy, Catalonia has regained some political and cultural autonomy and is now one of the most economically dynamic communities of Spain, the origin of the name Catalunya is subject to diverse interpretations because of a lack of evidence. During the Middle Ages, Byzantine chroniclers claimed that Catalania derives from the medley of Goths with Alans. Other less plausible theories suggest, Catalunya derives from the land of castles, having evolved from the term castlà or castlan. This theory therefore suggests that the names Catalunya and Castile have a common root, the source is of Celtic origin, meaning chiefs of battle. Although the area is not known to have been occupied by Celts, the Lacetani, an Iberian tribe that lived in the area and whose name, due to the Roman influence, could have evolved by metathesis to Katelans and then Catalans. In English, Catalonia is pronounced /kætəˈloʊniə/, the native name, Catalunya, is pronounced in Central Catalan, the most widely spoken variety whose pronunciation is considered standard. The Spanish name is Cataluña, and the Aranese name is Catalonha, the first known human settlements in what is now Catalonia were at the beginning of the Middle Palaeolithic. From the next era, the Epipaleolithic or Mesolithic, important remains survive
4.
Spain
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By population, Spain is the sixth largest in Europe and the fifth in the European Union. Spains capital and largest city is Madrid, other urban areas include Barcelona, Valencia, Seville, Bilbao. Modern humans first arrived in the Iberian Peninsula around 35,000 years ago, in the Middle Ages, the area was conquered by Germanic tribes and later by the Moors. Spain is a democracy organised in the form of a government under a constitutional monarchy. It is a power and a major developed country with the worlds fourteenth largest economy by nominal GDP. Jesús Luis Cunchillos argues that the root of the span is the Phoenician word spy. Therefore, i-spn-ya would mean the land where metals are forged, two 15th-century Spanish Jewish scholars, Don Isaac Abravanel and Solomon ibn Verga, gave an explanation now considered folkloric. Both men wrote in two different published works that the first Jews to reach Spain were brought by ship by Phiros who was confederate with the king of Babylon when he laid siege to Jerusalem. This man was a Grecian by birth, but who had given a kingdom in Spain. He became related by marriage to Espan, the nephew of king Heracles, Heracles later renounced his throne in preference for his native Greece, leaving his kingdom to his nephew, Espan, from whom the country of España took its name. Based upon their testimonies, this eponym would have already been in use in Spain by c.350 BCE, Iberia enters written records as a land populated largely by the Iberians, Basques and Celts. Early on its coastal areas were settled by Phoenicians who founded Western Europe´s most ancient cities Cadiz, Phoenician influence expanded as much of the Peninsula was eventually incorporated into the Carthaginian Empire, becoming a major theater of the Punic Wars against the expanding Roman Empire. After an arduous conquest, the peninsula came fully under Roman Rule, during the early Middle Ages it came under Germanic rule but later, much of it was conquered by Moorish invaders from North Africa. In a process took centuries, the small Christian kingdoms in the north gradually regained control of the peninsula. The last Moorish kingdom fell in the same year Columbus reached the Americas, a global empire began which saw Spain become the strongest kingdom in Europe, the leading world power for a century and a half, and the largest overseas empire for three centuries. Continued wars and other problems led to a diminished status. The Napoleonic invasions of Spain led to chaos, triggering independence movements that tore apart most of the empire, eventually democracy was peacefully restored in the form of a parliamentary constitutional monarchy. Spain joined the European Union, experiencing a renaissance and steady economic growth
5.
Joan Prats
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Joan Prats was a Catalan art promoter and a close friend of Joan Miró Joan Prats was born in 1891 to a family who sold hats. He was trained as an artist in the Llotja School, where he first met Joan Miró, Prats organised exhibitions for leading Iberian artists including Salvador Dalí, Pablo Picasso, Alexander Calder and his good friend Miró. He was also associated with Paul Klee, Max Ernst, Josep Vicenç Foix, the association lasted from 1932 to 1936 and the beginning of the Spanish Civil War. Miró formed his foundation with Prats, which led to the museum / exhibit hall in Barcelona known as Fundació Joan Miró. Prats admired Mirós ability to make things from found objects like those in The Caress of a Bird, Prats said, When I take a stone, it is just a stone. When I grab a stone, it is a Miró, library of Catalonia,1993,109 -. Record of John Prats, exposure Foundation, five Catalan artist in homage to John Prats, Galería Joan Prats. Information about the work the Foundation website, the golden book of Catalan art
6.
Alexander Calder
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Calder’s monumental stationary sculptures are called stabiles. He also produced wire figures, which are like drawings made in space, Alexander Sandy Calder was born in 1898 in Lawnton, Pennsylvania. His actual birthday, however, remains a source of much confusion, according to Calders mother, Nanette, Calder was born on August 22, yet his birth certificate at Philadelphia City Hall, based on a hand-written ledger, stated July 22. When Calders family learned about the certificate, they reasserted with certainty that city officials had made a mistake. His father, Alexander Stirling Calder, was a sculptor who created many public installations. Calders mother was a portrait artist, who had studied at the Académie Julian. She moved to Philadelphia, where she met Stirling Calder while studying at the Pennsylvania Academy of the Fine Arts, Calders parents married on February 22,1895, his sister, Mrs. Margaret Calder Hayes, was instrumental in the development of the UC Berkeley Art Museum. In 1902, Calder posed nude for his father’s sculpture The Man Cub and that same year he also completed his earliest sculpture, a clay elephant. Three years later, Stirling Calder contracted tuberculosis, and Calders parents moved to a ranch in Oracle, Arizona, the children were reunited with their parents in late March 1906 and stayed at the ranch in Arizona until fall of the same year. After Arizona, the Calder family moved to Pasadena, California, the windowed cellar of the family home became Calders first studio and he received his first set of tools. He used scraps of copper wire that he found in the street to make jewelry for his sisters dolls, on January 1,1907, Nanette Calder took her son to the Tournament of Roses Parade in Pasadena, where he observed a four-horse-chariot race. This style of event later became the finale of Calders miniature circus performances, in the fall of 1909, the Calder family moved back to Philadelphia, where Calder briefly attended Germantown Academy, then moved to Croton-on-Hudson, New York. That Christmas, he sculpted a dog and an out of sheet brass as gifts for his parents. The sculptures are three-dimensional and the duck is kinetic because it rocks when gently tapped, in Croton, during his early high school years, Calder was befriended by his fathers painter friend Everett Shinn with whom he built a gravity powered system of mechanical trains. Calder described it, We ran the train on wooden rails held by spikes and we even lit up some cars with candle lights. After Croton, the Calders moved to Spuyten Duyvil to be closer to New York City, while living in Spuyten Duyvil, Calder attended high school in nearby Yonkers. During Calders high school years, the family moved back and forth between New York and California, in each new location, Calders parents reserved cellar space as a studio for their son. Toward the end of period, Calder stayed with friends in California while his parents moved back to New York
7.
Man and Woman in Front of a Pile of Excrement
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Man and Woman in Front of a Pile of Excrement is a 1935 oil painting on copper by Joan Miró. The painting was made on a piece of copper in the week between 15 and 22 October 1935, Miró said that the subject resulted from trying to represent the tragedy and torture of the Spanish Civil War. The painting was one of known as the Wild Paintings. Half of these were painted on copper whilst the six were on the type of hardboard called Masonite. These were constructed in the period of rioting in Spain that resulted in the Civil War. Miró said this painting was about a period of unease, the painting shows a man and woman reaching out for an embrace but neither of them are moving. The enlarged genitals and lurid colouring have been described as full of disgust, the figures represented Mirós pessimism with the situation in Catalonia. This painting has been described as the key painting representing Mirós foreboding about the civil war. A chiaroscuro effect is created by the sky against which the disjointed limbs of the figures are highlighted. Mirós choice of title was to use French and not Spanish, Miró said that the reference to excrement comes from a saying by Rembrandt who said that when it came to painting, rubies and diamonds were found in dung heaps. This picture was painted in Mont-roig del Camp in 1935 and was in the possession of Pilar Juncosa Miró, Pilar Juncosa had been Mirós wife since 1929 and she was a supporter of his Foundation. This painting is kept in the Pilar Juncosa Gallery at his Foundation, Fundació Joan Miró/Joan Miró Foundation Clavero, Jordi. J
8.
Naked Woman Climbing a Staircase
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Naked Woman Climbing a Staircase is a drawing done with pencil and charcoal on card made by Joan Miró in 1937. It is part of the permanent collection of the Fundació Joan Miró in Barcelona, Miró created Naked Woman Climbing a Staircase during the Spanish Civil War. He was living in Paris when he started to attend drawing classes at the school of the Grande Chaumiere. Miró returned to constructing the figure to represent the drama that was then taking place in Catalonia. This feeling can be out in the shapes used to draw this tortured nude woman climbing a staircase. Other works of this period include Still Life with Old Shoe, at the top right is a kind of window or box where light rays can be seen entering the room. The woman is using her right arm to try to grab a ladder – this was a symbol that Miró used in several of his works to represent evasion or escape. The external genitals of the woman are similar to those of the woman in Man and Woman in Front of a Pile of Excrement as they are exaggerated in size and this work is said to be related to Nude Descending a Staircase, No. 2, made by Marcel Duchamp, although here the woman is ascending, the distortion and effort of the figure are interpreted as mirroring the Spanish Civil War. Interestingly Duchamps painting was not wholly original, it alluded to the photographs by Eadweard Muybridge which were amongst the first to record animal locomotion. Miró first saw this work by Duchamp in 1912, during the Cubist art exhibition held at the Dalmau Gallery in Barcelona. Muybridges idea of a woman on a staircase caught the imagination of not only Duchamp and Miró and his model was also shown ascending the stairs like Mirós subject. The exhibition Lescala de levasió that opened in October 2011 was supported by access to Wikipedia using QRpedia codes that allowed access to visitors in Catalan, English, obra de Joan Miró, dibuixos, pintura, escultura, ceràmica, tèxtils. Fundació Joan Miró-Centre dEstudis dArt Contemporani
9.
Barcelona Series
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The Barcelona Series is a series of fifty black and white lithographs made by Joan Miró and published in 1944. They are currently in the permanent collection of the Miró Foundation in Barcelona and this print series can be considered a forerunner to Mirós 1941 oil series Constellations. These black and white lithographs depict deformed images of animal and human figures, the pictures were a reaction to the Spanish Civil War, which was being waged at the time they were created. Even prior to the war, Miró had painted figures which expressed the pain of the conflict in his Wild Paintings. Here he used the skills he had been experimenting with since the 1930s to create a series that can be interpreted as either 50 individual pieces of art or possibly just a single one. Miró includes distorted ogres who are impotent, the ogres could represent Franco and his generals, but are known also to be based on the fictitious dictator, Ubu Roi, who was created by Alfred Jarry in 1898. The printing of these lithographs during the war required 350 sheets of paper and it is thought that the limited availability of paper led to the print run being limited to a total of just seven sets. After the publication of these prints Miró went to Paris in 1947, again taking a place in an exhibition of Surrealist Art. The images were created between 1939 and 1944 by the artist and they were printed at Miralles, a small printer in Barcelona, in 1944, after Miró returned from his self-imposed exile in France. Only five sets were created of the series, together with two artists proof sets, today only the location of two of these series is known. One set is in the Joan Miró Foundation whilst a second set is owned by the descendants of Joan Prats, because of the censorship in Spain under General Franco following the civil war it was impossible to exhibit these pictures. Miró at the time was in exile in Mallorca. - Joan Miró Barcelona series Clavero, Jordi. J
10.
The Caress of a Bird
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The Caress of a Bird is a 1967 sculpture by Joan Miró made at his studio in Palma de Mallorca. It is part of the permanent collection of the Miró Foundation in Barcelona, the origins of this sculpture are in the early object-sculptures the artist made in Mont-roig del Camp with found objects. The objects found were gathered at his workshop and then shaped into the new world. At first, the objects were not placed in the place, once the creation started there was a rigorous evaluation of their position by the artist. During the second war, Miró was alone in his ancestral home. He was excluded from his peers and the influence of art galleries, museums. He extracted natural forms and elements into a new language of found art. Joan Prats, Mirós lifelong friend and collaborator said, When I take a stone, when I grab a stone, it is a Miró. In the mid 60s it was realised that the sculpture was deteriorating. Miró himself supervised the texture and controlled patina which he considered to be very important, in this humorous sculpture Joan Miró uses easy to identify objects that serve as the basis of the design. The sculpture is over 3 metres tall and over 1 metre wide and it is constructed from bronze, disguised by the use of bright paint. The found objects now cast in bronze include an outhouse seat, the head is a donkeys straw hat whilst the turtle shell represents the female genitals. The sculpture has been compared to a totem of female sexuality
11.
Peter Greenaway
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Peter Greenaway, CBE is a British film director, screenwriter, and artist. His films are noted for the influence of Renaissance and Baroque painting. Common traits in his film are the composition and illumination. Greenaway was born in Newport, Monmouthshire, Wales, to a teacher mother, greenaways family left South Wales when he was three years old and settled in Chingford, Essex, England. He attended Forest School in northeast London, at an early age Greenaway decided on becoming a painter. He became interested in European cinema, focusing first on the films of Ingmar Bergman, in 1962, Greenaway began studies at Walthamstow College of Art, where a fellow student was musician Ian Dury. Greenaway trained as a muralist for three years, he made his first film, Death of Sentiment, a churchyard furniture essay filmed in four large London cemeteries, in 1965, he joined the Central Office of Information, working there fifteen years as a film editor and director. In that time he created a filmography of experimental films, starting with Train, footage of the last steam trains at Waterloo station, tree, is a homage to the embattled tree growing in concrete outside the Royal Festival Hall on the South Bank in London. By the 1970s he was confident and ambitious and made Vertical Features Remake, the former is an examination of various arithmetical editing structures, and the latter is a journey through the maps of a fictitious country. Greenaways most familiar musical collaborator during this period is composer Michael Nyman, in 1989, he collaborated with artist Tom Phillips on a television serial A TV Dante, dramatising the first few cantos of Dantes Inferno. In the 1990s, he presented Prosperos Books, the controversial The Baby of Mâcon, The Pillow Book, in 1995, Louis Andriessen completed the sixth libretto, Rosa – A Horse Drama. He is currently professor of cinema studies at the European Graduate School in Saas-Fee and he also contributed to Visions of Europe, a short film collection by different European Union directors, his British entry is The European Showerbath. Nightwatching and Rembrandts JAccuse two films on Rembrandt which were released in 2007 and 2008 respectively, nightwatching is the first feature in the series Dutch Masters, with the next project titled as Goltzius and the Pelican Company. This was later reprised at the Optronica festival, London, on 12 October 2007, he created the multimedia installation Peopling the Palaces at Venaria Reale at the Royal Palace of Venaria that animates the Palace with 100 videoprojectors. On 3 May 2016, he received a Honoris Causa doctorate from the University of San Martín, in 2006, Greenaway began a series of digital video installations, Nine Classical Paintings Revisited, with his exploration of Rembrandts Night Watch in the Rijksmuseum in Amsterdam. The performance consisted of superimposing digital imagery and projections onto the painting with music from the composer Marco Robino, Greenaway exhibited his digital exploration of The Wedding at Cana by Paolo Veronese as part of the 2009 Venice Biennial. The 50-minute presentation, set to a soundtrack, incorporates images of faces from the painting along with animated diagrams revealing compositional relations among the figures. These images are projected onto and around the replica of the painting that now stands at the original site, picassos Guernica, Seurats Grande Jatte, works by Jackson Pollock and Claude Monet, Velázquezs Las Meninas and Michelangelos The Last Judgment are possible series subjects
12.
Mercury fountain
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A mercury fountain is a fountain constructed for use with mercury rather than water. The most noted example is a sculpture designed by the American artist Alexander Calder. The artwork is a memorial to the siege of Almadén, which then supplied 60 percent of the worlds mercury, a direct counterpart is Picassos Guernica. Calders mercury fountain, now at the Fundació Joan Miró in Barcelona, is displayed behind glass for safety reasons, Mercury fountains existed in some castles in Islamic Spain, the most famous one was located at the Kasr-al-Kholaifa in Córdoba. Calders Mercury Fountain at the Fundació Joan Miró Photos of Calders Mercury Fountain by Mary Ann Sullivan Video of Calders Mercury Fountain
13.
QRpedia
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QRpedia is a mobile Web based system which uses QR codes to deliver Wikipedia articles to users, in their preferred language. QR codes can easily be generated to link directly to any Uniform Resource Identifier and it is owned and operated by a subsidiary of Wikimedia UK. QRpedia was conceived by Roger Bamkin, a Wikipedia volunteer, coded by Terence Eden, the projects source code is freely reusable under the MIT License. It also transmits the language setting of the device, if there is no version of the article available in the preferred language, then the QRpedia server offers a choice of the available languages, or a Google translation. In this way, one QRcode can deliver the same article in many languages, the projects name is a portmanteau word, combining the initials QR from QR code and pedia from Wikipedia. The projects source code is freely reusable under the MIT License, for example, the Occupy movement uses it on campaign posters. The criteria were to be effective, easy to understand and with global potential, a conflict of interest case involving QRpedia was identified as one of the main incidents leading to a 2012 review of the governance of Wikimedia UK. This conflict of interest led to the resignation of WMUK trustee Joscelyn Upendran, on 9 February 2013, WMUK announced that the intellectual property in QRpedia, and the qrpedia. org and qrwp. org domains, were to be transferred to the chapter at no cost. On 12 February 2013, Michael Peel registered two QRpedia related domain names on behalf of WMUK, on 2 April 2013, WMUK announced that Roger Bamkin and Terence Eden were transferring ownership of QRpedia to Wikimedia UK. At least one Wikimedia chapter has received letters alleging that QRpedia infringes various patents, monmouthpedia Gibraltarpedia Freopedia List of Internet encyclopedias Toodyaypedia QRpedia QRpedia statistics Qrpedia project on GoogleCode QRpedia on Twitter QRpedia on the Outreach wiki
14.
Contemporary art
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Contemporary art is the art of today, produced by artists who are living in the twenty-first century. Contemporary art provides an opportunity to reflect on contemporary society and the relevant to ourselves. Contemporary artists work in a globally influenced, culturally diverse, and their art is a dynamic combination of materials, methods, concepts, and subjects that challenge traditional boundaries and defy easy definition. In vernacular English, modern and contemporary are synonyms, resulting in some conflation of the modern art. Some define contemporary art as art produced within our lifetime, recognizing that lifetimes, however, there is a recognition that this generic definition is subject to specialized limitations. The classification of art as a special type of art, rather than a general adjectival phrase. In London, the Contemporary Art Society was founded in 1910 by the critic Roger Fry and others, as a private society for buying works of art to place in public museums. A number of other institutions using the term were founded in the 1930s, such as in 1938 the Contemporary Art Society of Adelaide, Australia, particular points that have been seen as marking a change in art styles include the end of World War II and the 1960s. There has perhaps been a lack of natural break points since the 1960s, and definitions of what contemporary art in the 2010s vary. Art from the past 20 years is likely to be included, and definitions often include art going back to about 1970, the art of the late 20th and early 21st century. Many use the formulation Modern and Contemporary Art, which avoids this problem, smaller commercial galleries, magazines and other sources may use stricter definitions, perhaps restricting the contemporary to work from 2000 onwards. One of the many people have in approaching contemporary artwork is its diversity - diversity of material, form, subject matter. It is distinguished by the lack of a uniform organizing principle, ideology, or -ism that we so often see in other. Broadly speaking, we see Modernism as looking at modernist principals - the focus of the work is self-referential, likewise, Impressionism looks at our perception of a moment through light and color as opposed to attempts at stark realism. Contemporary art, on the hand, does not have one. Its view, instead, is refracted, prismatic, and multi-faceted, reflecting the diversity of the world today, in all of its complexities, contemporary art reflects life as we know it. It can be, therefore, contradictory, confusing, and open-ended, there are, however, a number of common themes that have appeared in contemporary works. Post-modern, post-structuralist, feminist, and Marxist theory have played important roles in the development of theories of art
15.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
16.
Geographic coordinate system
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A geographic coordinate system is a coordinate system used in geography that enables every location on Earth to be specified by a set of numbers, letters or symbols. The coordinates are chosen such that one of the numbers represents a vertical position. A common choice of coordinates is latitude, longitude and elevation, to specify a location on a two-dimensional map requires a map projection. The invention of a coordinate system is generally credited to Eratosthenes of Cyrene. Ptolemy credited him with the adoption of longitude and latitude. Ptolemys 2nd-century Geography used the prime meridian but measured latitude from the equator instead. Mathematical cartography resumed in Europe following Maximus Planudes recovery of Ptolemys text a little before 1300, in 1884, the United States hosted the International Meridian Conference, attended by representatives from twenty-five nations. Twenty-two of them agreed to adopt the longitude of the Royal Observatory in Greenwich, the Dominican Republic voted against the motion, while France and Brazil abstained. France adopted Greenwich Mean Time in place of local determinations by the Paris Observatory in 1911, the latitude of a point on Earths surface is the angle between the equatorial plane and the straight line that passes through that point and through the center of the Earth. Lines joining points of the same latitude trace circles on the surface of Earth called parallels, as they are parallel to the equator, the north pole is 90° N, the south pole is 90° S. The 0° parallel of latitude is designated the equator, the plane of all geographic coordinate systems. The equator divides the globe into Northern and Southern Hemispheres, the longitude of a point on Earths surface is the angle east or west of a reference meridian to another meridian that passes through that point. All meridians are halves of great ellipses, which converge at the north and south poles, the prime meridian determines the proper Eastern and Western Hemispheres, although maps often divide these hemispheres further west in order to keep the Old World on a single side. The antipodal meridian of Greenwich is both 180°W and 180°E, the combination of these two components specifies the position of any location on the surface of Earth, without consideration of altitude or depth. The grid formed by lines of latitude and longitude is known as a graticule, the origin/zero point of this system is located in the Gulf of Guinea about 625 km south of Tema, Ghana. To completely specify a location of a feature on, in, or above Earth. Earth is not a sphere, but a shape approximating a biaxial ellipsoid. It is nearly spherical, but has an equatorial bulge making the radius at the equator about 0. 3% larger than the radius measured through the poles, the shorter axis approximately coincides with the axis of rotation
17.
Head of a Catalan Peasant
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Head of a Catalan Peasant is an emblematic sequence of oil paintings and pencil made by Joan Miró between 1924 and 1925. Miró began this series the year that André Breton published his Manifesto of Surrealism. The series was partly in Paris. For Joan Miró a peasant symbolized rural knowledge, and also reflected his Catalan identity, the Fundació Joan Miró of Barcelona keeps several preparatory drawings for this series. The work demonstrates that Miró had ties with his homeland throughout his career, Joan Miró created this series in response to the prohibition of the Catalan language by Miguel Primo de Rivera. He was also influenced by the environment of Baix Camp. In this series he develops the language started in works such as Catalan Landscape. The sequence followed by Miró has been interpreted several times as a simplification of the same scene. The series shares the synthetic representation of the figure of a Catalan peasant, by a repetition of such as the triangular head. In this group of oil paintings, Miró outlines the figure of a several times. As said Margit Rowell, Joan Miró explained his intentions with this work, I wanted my spots to seem open to the magnetic appeal of the void. I was very interested in the void, in perfect emptiness, I put it into my pale and scumbled grounds, and my linear gestures on top were the signs of my dream progression. This first version of the Catalan Peasant was painted in 1924 and is now part of the permanent collection of the National Gallery of Art in Washington and it became part of the collection as a gift of the Collectors Committee of the institution. The work is signed at lower right, Miró /1924, the back of the work is signed Joan Miró, Tête de Paysan Catalan,1924. Miró began to create his own sign language, in this version of the series, you can see the farmers body with a hat on an intense blue background. The version preserved in Edinburgh is the third of four Catalan Peasants that Miró made and you can understand this painting as a selfportrait of Miró, which affirms his Catalan identity. The work, conducted in 1925, was made at a time when Miró was gradually moving away from Cubism, previously the work had been part of private collection of Roland Penrose. Currently the work is preserved in the Scottish National Gallery of Modern Art and it was acquired along with the help of the Art Fund, the Friends of the Tate Gallery and the Knapping Fund 1999
18.
Dutch Interiors
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The Dutch interiors are a series of three paintings painted by Joan Miró in 1928, each inspired by Dutch Golden Age paintings of Dutch interiors. They belong to a Mirós period called assassination of painting, in the Spring of 1928, during a trip to Belgium and Holland, Miró was impressed by the Dutch masters of the 17th-century. After buying colorful postcards of some paintings he began his reinterpretations, the colors are the hues of the original paintings, but the intensity of the color is purely Miró. Thus, a green-gray gradient wall of Martensz Sorgh becomes a green apple in Miró and this painting presents a scene where the lute player stands in the centre. A woman besides him looks at the partiture, near a table, under the table, a cat and a dog are playing. These domestic components contrast with the landscape of Amsterdam which is seen through a window and it includes the same degree of detail shown in The Farm, with nowaday objects as the basket of the house. The huge size of the elements, as the lute, corresponds to its importance in the scene. This ability to break the model by distorting the images is a key characteristic of Mirós style and it doesnt go never very far away from the Flemish model. As Miró reported I had the postcard pinned up on my easel while I painted The colours belong to the same hue as in the original painting and they are pure and flat colours, not mixed ones, with special attention to green, white and brown. In this painting there are some repeated elements, like the dog and the cat, the subject is not a description or a realistic work, but the music and the sound. Two red eyes are watching the scene and they foresse the fantasy touch of the third one, blue and brown are the main colours of the interior, while the cat serves as the spinning force of the whole composition. It shows the aim of Miró to perform what it was called antipainting, influenced by Dada, when he takes a famous painting and transforms it, he is recognizing his debt with the model while he destroys it. At the same time Miró is questioning his own previous work and this woman is impaled by a nail to the floor and is framed by a black line, one of the typical colours of Miró. The cruelty of the scene is softened by the stylization of the details, although the red of the blood makes it harder, melania Rebull Trudell, Joan Miró, Barcelona, Ediciones y Globus Polígrafa 1994
19.
Paintings on masonite
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Paintings on masonite is a series of 27 abstract paintings made by Joan Miró using the type of proprietary hardboard known as Masonite, just after the Spanish Civil War started on 18 July 1936. These works break with his earlier phase which was known as his wild paintings period and this was a label established to describe the work done during the two years preceding the Civil War, between 1934 and 1936. Given this fact, Miró painted witnesses of the facts, but a kind of direct and violent exorcisms, what is wild in this series are not representations, but the very act of painting. The monsters are replaced by the direct attack on the canvas that serves as a stimulus. The matter of funds, masonite, it never be completely hidden. Miró created a mix with casein, black Ripoli, sand, the masonites have the force of a shout. In these works, narrative is replaced by an emphasis on texture and materials, including oil and enamel paints, casein, tar, sand. Miró sometimes violently attacked his Masonite panels, gouging craters into their fibrous matrix, creating irreversible marks, the works were painted in Mont-roig del Camp and Barcelona. Shortly after he finished these paintings, the artist left the country and went back to Paris, in the fall of 1936, Joan Miró, Painting and Anti-Painting 1927-1937. The Museum of Modern Art New York, Michele Leight, The City Review, moMA Presents the First Major Museum Exhibition to Focus on the Transformative Decade of Joan Mirós Work between 1927 and 1937
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The navigator's hope
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The rest of the series are preserved in various private collections. The series The navigators hope does not appear to have a connection with the life of the artist. Similar Miró works at times were clearly linked to contemporary events. Between 1968 and 1973 Miró was in Mallorca and he consolidated his style and renewed his interest in Eastern culture as well as other interests. Jacques Dupin speaks of the influence that Japanese art had on Miró because he sees the lines as calligraphic gestures on patches of intense color, as explained Pilar Cabañas in Universidad Complutense de Madrid, this influence was reciprocal, and came from far away. During the Surrealist Exhibition held in Tokyo in 1937, the Japanese artist Shuzo Takiguchi wrote the first critical Japanese Miró and that year, the catalogue of the exhibition of Mirós Maeght gallery several poems are illustrated by Miró himself, including a Takiguchi. During the following years and until the mid seventies, Miró, according to Dupin, in these works show a technique that Miró repeated often during 1968. The pictures were characterized by colourful graphics on a black or dark background, in contrast, other works of the series, corresponding to 1973, are much closer to the play La Chanson des voyelles, painted in 1966, kept in MoMA in New York City. In the latest works by increasing the number of lines, the black backgrounds are offset by large masses of color that gained prominence. If, at any time, has placed a red spot, you can be sure it was there and not elsewhere. Take it, and the box falls Clavero, Jordi. J, Shuzo Takiguchi The poems of Joan Miró. The origin of an artistic collaboration, japan, a Comparative Approach, Proceedings of the Third and Fourth Congress of the Association of Japanese Studies in Spain. Association of Japanese Studies in Spain, pp. no.1498 to 1505, pg, 126_1968, 127_1973, 128_1973, 129_1973
21.
Triptych Bleu I, II, III
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Blue I, II, III is a triptych created in 1961. It is a set of three-part display abstract oil painting by the Spanish modern artist Joan Miró, the paintings are named Blue I, Blue II, Blue III and are very similar. All three are enormous painting 355 cm x 270 cm each and currently owned by the Musée National dArt Moderne in the Centre Pompidou in Paris. As an up-and-coming artist in Paris during the 1920s, Miró was influenced heavily by Cubism and Art Nouveau, during this time he painted works similar to Bleu I, II and III such as Maternity, Painting, and Catalan Peasant with a Guitar. Many of these used the same spacious, blue field. Miró held a special significance with this colour, to him this blue was a symbol of a world of cosmic dreams, an unconscious state where his mind flowed clearly and without any sort of order. This blue was the colour of a surreal, ethereal night, Miró completed the Triptych Bleu I, II, III on March 4,1961, well into his artistic career. By this time he was an established artist with large exhibitions all over the world, Bleu II is probably the painting in Miró’s portfolio that most definitively expresses his obsession with dreamscapes and vacant, infinite space. In 1958, during which he was working on the Bleu I, II, III triptych and similar abstract murals in Paris, he was quoted saying, i’m overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. There, in my pictures, tiny forms in huge, empty spaces, empty spaces, empty horizons, empty plains—everything which is bare has always greatly impressed me. ”. Bleu I and Bleu III are nearly identical to Bleu II with exactly the same backgrounds of matching color and simple lines and shapes. To animate the sparseness of Bleu II’s canvas, Miró includes the red line on the left side of the painting, conveying a sharp shock in the calm blue surface. He also employs the series of bold, defined black dots radiating out from the red line in a flow to transmit the motion of the line through the whole expanse of the canvas. An interactive soundscape of the painting
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The Hope of a Condemned Man
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The Hope of a Condemned Man is a series of three paintings by Joan Miró in 1974 which are now part of the permanent collection of the Joan Miró Foundation in Barcelona. During the last years of Francoist Spain there were some controversial legal decisions that shocked the painter, Miró painted this triptych in reference to the hope of grace as he prayed for the life of the young anarchist Salvador Puig Antich finally executed by garotte. This series directly recalls another 1968 painting titled Painting on white background for the cell of a recluse, the works are the result of a two-year process during which Miró made several preparatory drawings with various ideas to approach the challenge. These drawings are preserved at the Miró Foundation, in February 1974 he painted these ideas, but he didnt finish the artwork until a month later, coinciding with the execution of another anarchist. Its odd, yet significant, that I finished my work on the day that they killed that poor boy. When they gave that poor guy, Salvador Puig Antich, I felt that was all about. I ended up on that canvas that killed him, a leaflet, which I call The hope of a condemned Man. I hope that these three remain in Barcelona, at the Foundation. - The relationship between these paintings and the drama of Puig Antich was not sought at the beginning, - It was not an intellectual coincidence at all. A coincidence but a little magic, successive representations show a patch that changes color according to the transformation of a flowing black line with splashes of paint. The line tries to describe a form that can not be completed as it is unexpectedly interrupted and this parallels the tragic cut our of the life of the young garroted activist. This work was created in 1974, the line comes fast, secure, multiple, from underground, reality, to take off on the horizon, the future. Miró knows that each line presents an enigma, his work as an artist has always been the same, on paper, on canvas, in cardboard, filling the space of signs that give meaning to the work and his medium. Miró in his maturity flight away from the formulas of vocabulary to achieve expression, the paintings are characterized by heavy graphics, drawn with a single breath, without rejecting Miró traditional forms, but simplifying the gesture. Imposed increasingly growing the importance of the empty space, Miró reaches maximum difficulty arises when suggesting a poetic image, creating tension, expressing a certain mood with minimal resources. This is the reason why he use every time larger formats, despite the static, Miró painted these large scale works influenced under the impression that he got on his stay in the United States. The art was going to be worth enjoyment become consumer value, in response to this position wealthy, many artists are inclined to experiment with forms of expression. One of the figures of expressionism was Motherwell, who painted one of his most famous works with a long series Elegy to the Spanish Republic
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Portrait of Vincent Nubiola
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Portrait of Vincent Nubiola is an oil painting by Spanish artist Joan Miró. Painted in 1917 when Miró was 24 years old, a year before his first exhibition and it is also said by some art critics to show the influence of Van Gogh. Acquired for a time by Picasso, the painting is now in the permanent collection of the Folkwang Museum in Essen and he met Vicenç Nubiola whilst studying life art at Barcelonas Cercle Artístic de Sant Lluc, a catholic-inspired art society, in 1913. Nubiola was a professor of agriculture at the School of Fine Arts in Barcelona, at the art society Miró also met Joan Prats, who became one of his lifelong friends and eventually helped Miró to build his foundation. Miró painted the Nubiola portrait during 1917 and shortly after and it was included in one of his early exhibitions at the Galeria Dalmau in Barcelona. This is one of the masterpieces from one of Mirós early periods when he experimented with a mixture of both Cubism and Fauvism. At this time he made several landscapes and portraits, such as Portrait of Enric Cristòfol Ricart also from 1917, several authors comment that this work could be influenced by the style of Van Gogh for whom Miró always felt admiration. The Nubiola portrait is signed Miró in the left margin. The painting shows Nubiola sitting in a chair beside a table on which there are fruit, a decanter. The flat backdrop behind the figure is decorated with triangles and arcs, the red of Nubiolas open collar shirt indicates his political radicalism, Miró painted himself wearing an identical shirt in a later self-portrait. This work was acquired by Picasso. This portrait has been in the permanent collection of the Folkwang Museum in Essen, the purchase was made with the support from the state of North Rhine - Westphalia, the Westdeutsche Rundfunk, and it entered the museum with the registration number Inv
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The Harlequin's Carnival
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The Harlequins Carnival is an oil painting rendered by Joan Miró between 1924 and 1925. It is one of the most outstanding surrealist paintings of the artist, created between 1924 and 1925, Harlequin’s Carnival is one of Joan Miró’s best-known pieces. Harlequin is the name of a well-known Italian comic theater character that is identified by his checkered costume. The ‘carnival’ in the title of the painting may refer to Mardi Gras, in 1924 poet André Breton formed the Surrealist movement. Around the time of the group’s formation Miró started to paint in the surrealist style, surrealism focused on dreams and the subconscious as artistic material, and Miró was able to draw from these ideas. He painted the subconscious, but also his own experiences and memories. To combine these two sources he draws on his imagination to create magical elements in his paintings and this can even be seen in his early work, for instance in his 1922 detailist painting The Farm. This specific painting is centered on a harlequin at a carnival, although the harlequin resembles a guitar, he still retains some of his harlequin characteristics such as a checkered costume, a mustache, an admiral’s hat, and a pipe. The harlequin in this painting is sad, which could be due to the hole in his stomach and this detail may refer to Miró’s personal life experiences, because at this point in his life he did not have much money for food and was on the brink of starvation. This is a painting of a celebration, all the characters seem to be due to the fact they are playing, singing. Some of the objects in the painting are anthropomorphized, and some seem to be moving and dancing as well, one example is the ladder to the left of the painting, which has an ear and an eye. According to Miró, the ladder is a symbol of flight, evasion, the green sphere to the right of the painting represents the globe because Miró, according to him, was obsessed with the idea of “conquering the world”. The cat in the right of the painting represents Miró’s actual cat. The black triangle in the window in the top right represents the Eiffel Tower. There are many forms and squiggly shapes that seem to be moving or floating around the canvas. The beauty of the painting is in its composition, every corner of the painting seems to be filled with some object, character, or shape. In the international peer-reviewed journal JAMA Psychiatry, James C, harris, MD, writes that for Miró, “painting was a means to express his inner life through visionary art”. This is a reference to Miró’s style of painting, automatism, in this process the artist paints whatever comes to mind, thereby painting his subconscious thoughts
25.
Still Life with Old Shoe
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Still Life with Old Shoe is a 1937 oil painting by Joan Miró, now part of the permanent collection of the Museum of Modern Art in New York City. The work was given to the museum by James Thrall Soby in 1970, at the start of the Spanish Civil War Miró spent some time at his house in Montroig del Camp but then left for France. On 16 December 1936 he arrived in Paris with his wife Pilar and they lived in a very confined space with nowhere for Miró to work, so he simply noted down ideas on small cards. As he had done when he first went to Paris in 1920, perhaps the events of the moment, especially the drama of the war in Spain, made me feel a need to penetrate reality. I worked from life every day at the Grande Chaumiere, at that time I felt a need to control things through realism Miró sided with the Republicans. He showed his the mural The Reaper at the Spanish pavilion of the Paris International Exhibition of 1937 where Picassos famous Guernica was also exhibited, the Reaper, a large picture with a height of 5.5 m, was lost after the pavilion was dismantled. In the same year Miró produced a poster with a message in French. On the left there is an apple impaled by a fork, then a bottle, a loaf of bread, the main colours are black, red and acidic yellow, which symbolize an apocalyptic landscape, all in flames. This infernal sight is underlined by the shades in the horizon, the silhouettes of all objects can be clearly defined and the round-shaped lines of the whole composition create dynamism. This painting is born in the context of Spanish Civil War and this work is often compared to Picassos Guernica, both because of its despair and of the nowadays consequences of any war. The shapes in the look like dark clouds, forecasting the tragedy to come. The objects chosen by Miro are deliberatedly poor and humble, tied to ordinary life, an old shoe. They stand as a tragic symbol and its huge size become a threat, reinforced by the contrast of colours and the ghostly light, which sometimes seem to emanate from the objects. Metamorphosis of the objects is one of the keys of this work and it is produced not only by the size, the author himself decided to follow a realistic style, since the struggles of war didnt allow anyone to escape through surrealist drawing as in previous works. The painting, then, doesnt show nor photographic nor fully abstract style and this hybrid character extends to the genre, both a still life and a landscape. The preparatory drawings, found in a piece of newspaper, tell that this work was intended to be a large pastel and they are inspired by Van Goghs work A Pair of Shoes. The Mediterranean Miró, conceptions of cultural identity, pincelada From Monet to Pollocks gesture. Art Gallery of the Genius, Miró, Joan Miró, la intencionalidad oculta de su vida y obra, cómo deletrear su aventura pictória
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Personnage Oiseaux
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Personnage Oiseaux is one of Joan Mirós largest works in the United States and his only glass mosaic mural, 1972–1978. Miró created it for Wichita State Universitys Edwin A, the mural is one of Mirós largest two-dimensional projects, undertaken when he was 79 and completed when he was 85 years of age. Fabrication of the mural was completed in 1977, but Miró did not consider it finished until the installation was complete, the glass mosaic was a first for Miró, and although he hoped to create others, he died before achieving this goal. Intending to come to the dedication of the mural in 1978, he fell at his studio in Palma, a gift of the artist, donor groups paid for the fabrication by Ateliers Loire of Chartres, France, and for its installation. The entire mural was originally assembled by an artisan at Ateliers Loire using Mirós maquette as a guide. Fabricated under Mirós personal direction and completed in 1977, the 80 panels comprising the mural were shipped to WSU, and the mural was installed on the Ulrich Museums façade in 1978. Although it has received recognition, the mural is a unique late work in the artists career, being one of Mirós largest two-dimensional works in North America. In 2011 it was announced that the mural would be taken down, the mural which had been losing tesserae was the subject of a two-year study to work out how it could be conserved. The mural is to be apart and recreated with a stainless steel backing. This conservation will cost three dollars and will take 5 years
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Hands flying off toward the constellations
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Hands flying off toward the constellations is a painting by Joan Miró dated 19 January 1974. It is now shown at the Fundació Joan Miró, in Barcelona, the artist gave the work to the Foundation in the same month that it opened to the public on 10 June 1975. This together with the apparent indifference in the application of paint on the canvas, with the appearance of dripping and splashing, this work gives great strength and aggressiveness. Aggressive, but there is more in form than content and these works should not be interpreted as a cry of protest, but as a sincere and spontaneous manifestation of feelings of the artist. As for the technical execution Miró explains himself This method is to dip your finger in the paint is fairly recent, in a photo of my monograph can be seen as I do it. I always use the resource of the fingers, even spread paint fist, and, rubbing in circles. The exhibition Lescala de levasió that opened in October 2011 was supported by access to Wikipedia using QRpedia codes that allowed access to visitors in Catalan, English, gimferrer, P. Miró, strike without sore. Barcelona, Fundació Joan Miró. pp. no, Barcelona, Pilar and Joan Miró Foundation
28.
His Highness the Prince
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His Highness the Prince is an object-sculpture made by Joan Miró in 1974 and now part of the permanent collection of the Joan Miró Foundation in Barcelona. His Highness the Prince, with Her Majesty the Queen and His Majesty the King are part of a series of made in 1974 when Miró lived a moment of international recognition. During that year a retrospective of his work was shown at the Grand Palais and the Museé dArt Moderne, in Paris. Two years before, the exhibition Magnetic Fields had been held at the Guggenheim Museum in New York City and it was also the year of construction of the future Joan Miró Foundation in Barcelona, opened to the public on 10 June 1975. This situation of international artistic recognition contrasts with the situation in Spain during the last years of the dictatorship. Juan Carlos de Borbón, then Prince of Spain, was 5 years old who had allegiance to Francisco Franco as his future successor as head of the state. Miró had created artworks that were critical with the concept of authority, the bombast of the celebrity in these works contrasts with the humility of their materials, and the same contrast can be seen in His Highness the Prince. His Highness the Prince consists of two large timbers put together and topped with a goat horn. Some parts of the retain their original color, while others are painted with blue, red. The found objects, featuring objects from the peasant environment of Montroig or Mallorca, are transformed into sculptures. The exhibition Lescala de levasió that opened in October 2011 was supported by access to Wikipedia using QRpedia codes that allowed access to visitors in Catalan, English, malet, Rosa Maria, Fundació Joan Miró. Miró, Emilio Fernandez, Pilar Ortega Chapel, Paris, Daniel Lelong-Succession Miró. p.292
